Carl Nielsen: Inheritance and Legacy

Programme for the Carl Nielsen Symposium, 3.-5. November 2011

Carl Nielsen Symposium - Poster

Thursday 3 November

15.00 - 17.00

Michael Fjeldsøe and Jens Boeg: Nielsen and the Idea of English National Music

Ulrik Skat Sørensen, Metrical Dissonances in Sinfonia Espansiva, examination paper, Institut for Kunst- og Kulturvidenskab at Copenhagen University; external examiners Anne-Marie Reynolds (USA), and Daniel Grimley (UK).

Friday 4 November 

10.30-11.00

Registration of delegates and coffee

11.00      

Words of welcome, Blixen Hall, Royal Library

11.10-13.00
 

Anne-Marie Reynolds. Nielsen's Saul og David as Tragedy: the Dialectics of Fate and Freedom in Drama and Music

Glenda Goss: Sibelius, a Towering National Composer – an Outsider's Perceptions

Paolo Muntoni: Nielsen in the United Kingdom

13.00-13.45    

Lunch for the delegates in the atrium of the Library

14.00-17.00  

David Fanning: Dream and Deeds, and other Dualisms: Nielsen and the Two-movement Symphony

Mikkel Vad: Carl Nielsen in the Jazz Repertoire: The Search for a (Trans) National Vernacular in Danish Jazz

Patrick McCreless: Nielsen, Virtuosity, and the Cadenza

Daniel Grimley: Nielsen on the Boulevard – Modernism and the Harlequinesque in Amor og Digteren

John Fellow: Carl Nielsen – the Human Crisis, Then and Now

17.00 Choir recital in the foyer of the Royal Library, MUKO, conducted by Nenia Zenana (see program below)

 

(19.00

 

Dinner for guests and delegates)

Saturday 5 November

9.00-9.10

Greetings by Director General of the Royal Library, Erland Kolding-Nielsen

9.10 -9.50      

Hans Abrahamsen: Nielsen in Abrahamsen's Adaptations (working title) (on special invitation)

9.50-11.45
 

Finn Egeland Hansen: Gade and Nielsen in an International Perspective

Thomas Holme Hansen: Carl Nielsen and Knud Jeppesen

Colin Roth: Nielsen's Engagement with Fine Art

11.45-12.30    

Lunch for delegates in the atrium of the Library

12.45-15.45  

Raymond Knapp: Music as Life: Intention, Authority, and Meaning in Nielsen's Symphonies

Jan Crummenerl: Carl Nielsen and his Organ Preludes, Opus 51, and Their Relation to Hans Henny Jahn, Hugo Distler, and Ernst Pepping

Robert Rival: Chords, Scales and Voice Leading: Defining Harmonic Flavour in Late Nielsen

Svend Hvidfelt Nielsen: The Theme of Opus 40: Function Harmonic Coherence and Sequential Organization

16.00-17.00

Nielsen recital in the Queen's Hall, Students from the Royal Danish Conservatory (organized by the Royal Library and the Conservatory) (see program below)

Entrance free for delegates and other interested.

Abstracts 

Thursday 3 November

Michael Fjeldsøe, Copenhagen
Jens Boeg, Copenhagen:

Carl Nielsen and the Idea of English National Music

 Why did Nielsen since the 1950s achieve such a favourable reception in England compared to the rather reluctant recognition in continental Europe? We would suggest that one reason could be an affinity of features in his music with the concept of English national music. This attempt to discuss the British reception of Nielsen does of course not imply that Nielsen’s music is English. From a constructivist position, national musics are based on cultural common-views in a population of people identifying themselves with a certain concept of a nation which they regard as their own.

The concept of English national music had Ralph Vaughan Williams as chief engineer and champion. Based on Cecil J. Sharp's scientific investigation of the English folk-song, Vaughan Williams developed a theoretical background on which English composers could (and later would) create their compositions, and his thoughts became prevalent through the English musical establishment. Though mainly concerned with the music of England, Vaughan Williams' ideas were not limited by nationality as such, but were general guidelines for every composer in every nation of the world. In many ways Nielsen's music can be seen to fit Vaughan Williams' characteristics for good music, and it also fits the primary English nationalist concern of being characteristically non-German.

Apart from the distinction from German music, which most national musics of 19th-century Europe have in common, there is in the post-WWII English reception a hardly concealed relief to find composers who, like Nielsen, represent an alternative to Central European high modernism and who can still be regarded as being modern.

           

Ulrik Skat Sørensen, Copenhagen (examination paper):

Metrical Dissonance in Sinfonia Espansiva: A Metrical Analysis of the First Movement and How Metrical Analysis can Help Solve Form Problems.

Nielsen’s music is known to be ambiguous in the harmonic department as well as in the metric. In this paper I will endeavor how Nielsen works with this metrical ambiguity in order to create tension/relief, forward motion and finally sectional division. At several occasions in the music, Nielsen emancipates the notated meter and allows interaction between underlying layers to take over the metric control. The meter evolves from within and gives associations to the title Espansiva. I will present a metrical map with form divisions according to the sonata form, and show how the different metrical states can indicate how and when sectional borders appear. The analysis will be made based on the theory of Harald Krebs, who has developed a useful analytic tool for this kind of musical research. 

           

Friday 4 November

Anne-Marie Reynolds, New York at Geneseo:

Carl Nielsen’s Saul og David as Tragedy: The Dialectics of Fate and Freedom in Drama and Music

In previous studies of Carl Nielsen’s opera Saul og David, Einar Christiansen’s libretto has been compared to the biblical story, and the similarities and differences duly noted. In fact, some of these changes already appeared in Hans Christian Andersen’s libretto (for J. P. E. Hartmann’s unfinished opera, Saul), which Christiansen must have known, since it was published twenty years before his own. Recently, Pat McCreless suggested that, beyond the biblical narrative, Saul og David might constructively be viewed as a tragedy. Indeed, in this paper I will demonstrate that this perspective illuminates not just Christiansen’s take on King Saul’s demise, but also Nielsen’s methods of underscoring it musically. My title alludes to Paul Ricoeur’s The Symbolism of Evil in which the author states: “Without the dialectics of fate and freedom, there would be no tragedy.” In other words, tragedy depends on the tension between forces beyond a person’s control, and actions taken of his own volition that may postpone, but ultimately cannot alter, his fate. I will argue that Nielsen was drawn to this subject for his first opera in part because Saul’s struggle against the inevitable unfolds in much the way his music does: “fate” is the tonal goal, and “freedom” is the volatile harmonic language and serpentine voice-leading that thwart progress toward that ineluctable goal. This is perhaps why many reviewers have noted the opera’s symphonic nature; Nielsen’s instrumental works depend on these same techniques precisely because he infused all of his compositions with drama. He once admitted as much: “I have always felt strongly attracted by the ‘dramatic’ in art, for is not all art actually dramatic?” It is also tempting to consider the dialectics of fate and freedom in regard to Nielsen’s life at the time that he was writing Saul og David. He was just over thirty when he began, yet already had one illegitimate child, a wife and three kids depending on him. Attempting to develop a career that requires imagination and inspiration, while burdened with the mundane necessities of making a living and raising a family, he may have identified intuitively with Saul’s sense of entrapment, and viewed him more sympathetically than the less complicated David. Saul’s humanness surely resonated with Nielsen’s own. 

           

Glenda Goss, Helsinki:

Sibelius, a Towering National Composer – an Outsider’s Perceptions

During his lifetime Jean Sibelius (1865–1957) was turned into a national icon and invested with the essence of a pure Finnish identity. Even today, over half a century after his death, Sibelius’s importance for Finnish self-conception remains enormous. Although this impact eludes accurate measure, it has clearly extended beyond the world of music and into the wider Finnish society.

In his role as “towering national composer” and as a model of the musical essence of his nation Sibelius shares perhaps his deepest affinities with his contemporary, Carl Nielsen, who served similar functions for Danes and with whom the Finn had a somewhat uneasy relationship. Using Sibelius as a case in point, this presentation offers an outsider’s perceptions of why nations make men like Nielsen and Sibelius into national heroes and how, and what the costs can be.

           

Paolo Muntoni, Copenhagen:

Carl Nielsen in the United Kingdom

The United Kingdom has always been receptive to the Danish composer Carl Nielsen. For a long time Great Britain was the only country outside Scandinavia to show interest in his works, which met both the favour of the public and the appreciation of critics. No other country has produced such a comprehensive list of articles, studies and reviews about Nielsen’s music.

An overview of the commentaries on Nielsen’s most performed works, namely the Fourth and Fifth Symphony, published on two major British newspapers – The Times and The Guardian – documents how the opinion on his music constantly changed. Critiques range from an initial enthusiastic acclaim to a half-hearted appreciation, and later to revaluation and revival. An analysis of a selected work, the Sixth Symphony, sheds light on the breadth and variety of what can be now considered a well-established research tradition. Robert Simpson pioneered such research in the 1950’s, but it was during the last decade of the 20th century that the most interesting developments unfolded.

Despite the wide range of interpretations, it is possible to track within British research on Carl Nielsen some underlying features that, in interplay with other factors, can help to explain the composer’s popularity in the UK.

           

David Fanning, Manchester:

Dream and Deeds, and other Dualisms: Carl Nielsen and the Two-movement Symphony

Symphonies in two movements have always been exceptions. They are certainly much rarer than single- or three-movement symphonies, never mind those that adopt the four-movement 'norm'. After Mahler's mighty Eighth, Carl Nielsen's Fifth Symphony (1921-22) is the earliest example to have established itself in the permanent repertoire. Isolated though it may be for its time, it relates in several striking ways to later instances such as Robert Simpson's Third, Lutoslawski's Second, and Tippett's Third, all of which date from 1962-72. In all these works, including Nielsen's, some accommodation is made with the tempo- and character-schemes of the classic four-movement symphony. More fundamental than this, however, is the way in which these two-movement symphonies embody exceptionally strong polarities, expressed sometimes in titles (such as Hesitant/Direct), sometimes in primary documents such as interviews or essays (Dream and Deeds...). These binary oppositions edge towards the core one of symphony/anti-symphony, which was arguably the single most important factor in the international renewal of the symphonic genre in the 1960s. In this respect Nielsen, for all his apparent life-affirming priorities, turns out to have been a bold prophet.

           

Mikkel Vad, Copenhagen:

Carl Nielsen in the Jazz Repertoire: The Search for a (Trans)National Vernacular in Danish Jazz

The paper will explore how the use of Carl Nielsen’s music, primarily the “folkelige” songs, in the jazz repertoire signifies upon ideas of national identity as well as placing the music in a globalised context. As such the music presents a glocalised form of jazz. Therefore it is also important to broaden the view on the use of Nielsen’s songs, as well as similar Nordic material, in jazz from the stereotypes of the “Nordic tone” and nationalist ideals to a theoretical approach that encompassed both the local/national, (African-)American and global elements of the music and culture at the same time.

Henry Louis Gates Jr.’s theory of signifyin(g) has been used widely in jazz research over the past couple of decades in the analysis of African-American aspects of American jazz. The paper will propose that the process of signifyin(g) is inherent to jazz music and jazz culture as such, but that the music does not have to signify upon exclusively African-American tropes and values.

Thus, the use of Nielsen’s songs in a jazz context has the double function of signifyin(g) upon a Danish tradition and a jazz tradition. Like the African-American blues Nielsen’s “folkelige” songs can be said to be a vernacular musical language in Danish jazz.

Thus the use of Nielsen’s music in Danish jazz is characterised by the paradoxical intertextually that is at the heart of jazz. 

           

Patrick McCreless, New Haven: 

Nielsen, Virtuosity, and the Cadenza

Three central elements of the concerto, from its origins in the late seventeenth century to the present, are 1) the contrast between the individual, or small group of individuals, and the concerted group; 2) virtuosity, as a means of distinguishing the soloist as a musical subject by means of technical skill, endurance, dramatic presence, heroic persona, or some combination of same; and 3) the cadenza, the conventional site at which the soloist steps into a spotlight of exceptional intensity. Although these three features of the concerto have remained remarkably consistent over time, from Corelli to Carter, they have also been musical variables that have challenged composers and stimulated their originality: how to shape the persona of the soloist (collaborator or adversary?); how to use virtuosity, and what level thereof to demand (Paganini or Mendelssohn?); and how to breathe life into an element as conventional as the cadenza (Bach’s Brandenburg 5, Beethoven’s Emperor Concerto, and Elgar’s Violin Concerto). The present paper is a meditation on subjectivity, virtuosity, and the cadenza, in Nielsen’s three concertos: in the light of the genre’s traditions, of concertos by other modernist composers, and in the light of Nielsen’s oeuvre as a whole.

           

Daniel Grimley, Oxford:

Carl Nielsen on the Boulevard – Modernism and Harlequinesque in Amor og Digteren.

Carl Nielsen’s music for Sophus Michaëlis’ festival play Amor og Digteren, written in 1930 for the 125th anniversary of H C Andersen’s birth, is one of his most immediately engaging but neglected late scores. The story of an old poet whose heart is pierced by Cupid, disguised as a bedraggled young boy, suggests an obviously autobiographical interpretation, which locates Carl Nielsen once more in the familiar surroundings of his native land. But the Overture, which has gained some mileage as an independent concert piece, is startlingly cosmopolitan, and invites a number of more searching analytical interpretations, especially in the light of other pieces such as the Sixth Symphony and the two Wind Concertos. In this paper, I will offer a close reading of the Overture, drawing particular attention to the (ambivalent) presence of Carl Nielsen’s European modernist contemporaries Arnold Schoenberg and Igor Stravinsky among the Overture’s richly complex array of musical characters. 

           

John Fellow, Copenhagen:

Carl Nielsen – The Human Crisis, Then and Now

Beginning with the context of the creation of the Carl Nielsen Brevudgaven (translated: The Carl Nielsen Letter Edition), an account is provided of the source material for the eleven volumes and separate index. Eight volumes have already been published; the Edition will be completed in 2014.

While the Edition is still a work in progress, it highlights the stages, themes, and general progression of Carl Nielsen’s life and the way these interact with his family, the music and cultural scene, and society in general.

How private is the Edition – and what does his private life have to do with his music? Is there a connection between life and art, or is there no connection, or perhaps the opposite: that the artistic visions, and the struggles to express and communicate them, affected private life – of both husband and wife?

The artistic point of view of Carl Nielsen is defined on the basis of evidence in the source material, which includes his own statements as well as those of his colleagues. In his and his colleagues’ opinion, this was not a narrow-scope artistic discussion but a debate on human emotional life itself and the structure of the human psyche: it was human development at this deep level that music both ought to and was able to influence. Which it increasingly did in a destructive way.

What does the whole wretched business of our own age have to do with that of Carl Nielsen’s time period? How can we benefit from his answers? Have we come up with better answers? And if so, why are we even discussing Carl Nielsen?

           

Saturday 5 November           

Finn Egeland Hansen, Aarhus:

Gade and Nielsen in an International Perspective

Danish musicology is characterized by a tendency to focus on the specifically "Danish" in the composers’ ways of musical expression – quite naturally as it contributes to the placement of the composers in at context of a general Danish cultural history.

With two of the greatest Danish composers, Niels W. Gade and Carl Nielsen this inclination has been very pronounced. With Gade there has been a marked tendency to regard those of his works that are not composed in a national romantic style simply as stagnated Mendelssohn plagiarism. With regard to Nielsen an example in point is Jørgen I. Jensen’s biography entitled Carl Nielsen – the Dane.

This natural inclination to focus on the national elements, however, has in my opinion to some extent impeded other relevant and even innovative approaches to the works of these composers.

To regard Carl Nielsen as a neoclassicist composer represents such a possibility. There are many similarities between the general musical ideology of the French neoclassicists and that of Carl Nielsen, and on the stylistical level it is not hard to find similarities concerning largely all musical elements, form, melody, tonality etc. And in stead of viewing Gade’s stylistic development as having come to an end by the mid-fifties it might be profitable to see the extremely classicistic style in such late works as the string quartet op. 63 and the novelettes op. 53 and 58 if not as pointing directly to the neoclassicism of the 20th century then at least as a spiritually related style which may be labelled retro-classicism.

My paper will elaborate on this and at the same time try to find an explanation to the fact that many Danish composers of the 20th century – including Carl Nielsen – held Gade in high esteem.

           

Thomas Holme Hansen, Aarhus:

Carl Nielsen and Knud Jeppesen. Bits and pieces from the outskirts of international Nielsen research

Danish musicologist Knud Jeppesen (1892-1974) occupied a prominent position in modern musicology during several decades of the twentieth century. In addition to his path­breaking dissertation on The Style of Palestrina and the Dissonance, the world-known textbook on Counterpoint, and his articles and scholarly editions, he served as long-time editor of Acta musicologica (1931-53) and President of the International Musicological Society (1949-52). In addition, he was a prolific composer throughout most of his life, and in that capacity he was awarded the ‘Ancherske Legat’ in 1946 and won several national competitions.

Having been fascinated by the music of Carl Nielsen from very early in his life, Jeppesen became a pupil of Nielsen in 1915 and subsequently served as a sort of assistant to Nielsen, as well as substitute teacher to Nielsen at the Royal Danish Academy of Music. As is well known, Jeppesen was marginally involved in Nielsen’s work on some of his compositions, for instance the final work on the 4th symphony.

No doubt, Carl Nielsen represented a very important ‘chapter’ in the life and work of Jeppesen, who published several articles on Nielsen and remained in contact with his relatives many years after his death in 1931. On the other hand, the Jeppesen chapter in the narrative of Carl Nielsen is of course of modest proportions. Nevertheless, bits and pieces of evidence exist that in a small way might contribute to the ongoing research in Carl Nielsen, his life, influence and legacy.

The aim of this paper is to present an overview of the Nielsen-Jeppesen-connection, stretching from Jeppesen’s cooperation with another Nielsen admirer as early as 1912-13, via Jeppesen’s compositional studies with Nielsen and their subsequent collaborations, to hitherto unknown Jeppesen correspondance with the Nielsen family after the composer’s death.

           

Colin Roth, Sheffield:

Nielsen's Engagement with Fine Art

Carl Nielsen's engagement with fine art, part 1. In this paper, intended as the first of a sequence examining the composer's interest in and relationship to aspects of the fine arts and artists, Colin Roth looks for some initial insights into the composer's developing enthusiasm for fine art in his early years, and considers their implications  for our understanding of his music-compositional process and creative path.

             

Raymond Knapp, Los Angeles:

Music as Life: Intention, Authority, and Meaning in Nielsen’s Symphonies

Carl Nielsen has left us in an odd predicament. He “explains” his music in ways that defy being taken literally despite their tone of frank earnestness. At the same time, he works within established idioms and tropes that evoke meanings hard to reconcile either with his explanations (even taken figuratively) or, in some cases, with their host works. Thus, for example, his timpani duel in the Fourth Symphony may reasonably be understood, given its use of established representational tropes and its historical situation, to evoke a naval battle. As such, however, it articulates only awkwardly with Nielsen’s explanation for the symphony, including the famous claim, “Music is Life, and, as life, inextinguishable.”

Drawing on this and similarly perplexing episodes in Nielsen’s symphonies, and considering as well his distinctive contrapuntal practices, I suggest a framework for understanding this explanatory labyrinth. I base this framework in part on Nielsen’s intuitive manner of working with his musical ideas and materials, which derives from and is coupled with his sense of music as a mysterious and powerful force that (to paraphrase Francis Bacon regarding nature) to be commanded, must be obeyed. Comparing Nielsen’s claims and practices with those of roughly contemporary figures such as Mahler and Scriabin, I then argue for a shared basis for these composers’ attitudes and approaches in German Idealism.

           

Jan Crummenerl, Solingen:

Carl Nielsen and his Organ Preludes, Opus 51, and Their Relation to Hans Henny Jahnn, Hugo Distler und Ernst Pepping 

During summer 1931, a correspondence between Carl Nielsen and the German writer Hans Henny Jahnn (1894−1959) took place. The Hamburg citizen was both an organ builder and a music publisher. Jahnn knew the 29 Little Preludes, op. 51, and Commotio, op. 58, for organ which Nielsen had sent to him. He wanted to publish Nielsen’s works for organ in Germany. Due to Nielsen’s death in early October 1931, this was no longer possible. Jahnn, who as an organ builder and one of the leading members of the Organ Movement in Germany and a specialist on the organ music of the Baroque, took only into consideration the contemporary composers Strawinsky and Nielsen, presumably because their use of Baroque compositional structures. Thus, in addition to masters of the Baroque, Nielsen would have been the only contemporary composer in Jahnn’s publishing programme. Jahnn was fascinated by Nielsen’s anti-Romantic position which was also at the heart of the Organ Movement. This makes relevant a comparison of Nielsen’s 29 Little Preludes published in Copenhagen in 1930, with works by younger composers associated with the Organ Movement: Hugo Distler (1908−42), Kleinen Orgelchoral-Bearbeitungen as well as Kleine Orgelbuch (1941) by Ernst Pepping (1901−81). In spite of the differences in the personal styles of these three composers, it is nevertheless possible to detect interesting similarities such as a strict framework, transparent texture, motifs, clear counterpoint and a harmony abandoning late Romanticism and partly returning to the use of modal elements. The similarities show in no way a mutual influence among the three composers; rather, they are an example of a cross-bordering musical climate which also included the Organ Movement and its associated composers.

           

Robert Rival, Canada:

Chords, Scales and Voice Leading: Defining Harmonic Flavour in Late Nielsen

Early studies of Nielsen’s harmony focused on large-scale tonal design, tracking the progression of key areas across large spans of time (Simpson, George, Reid). With this foundation in place attention has increasingly turned to moment-to-moment qualities in Nielsen’s harmony. Fanning, for instance, attributes its peculiar flavour to the “interpenetration of modal and tonal elements”. Krebs augments Simpson’s analyses with a discussion of interlocking tonalities. DeVoto shifts the discussion from traditional keys to “non-classical diatonicism and polyfocal tonality”. Fjeldsøe emphasizes intervallic structures, dispensing with keys and modes. Miller and Parks describe embedded atonal elements using set theory. This proliferation of analytical methods is symptomatic of the challenges posed by the subtlety of Nielsen’s music, its very richness and diversity often defying analysis even when aurally it makes intuitive sense. Tymoczko’s ground-breaking book, A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (2011), promises a way to reconcile these divergent interpretations. Rigorous and sophisticated yet flexible, Tymoczko’s approach sheds light on a wide range of music, from Debussy, Shostakovich and Stravinsky, to minimalism, pop and jazz. Moreover, Tymoczko views extended tonality as just that: an extension of functional harmony and late nineteenth-century chromaticism, a stance particularly apt when considering the origins of Nielsen’s style. Using Tymoczko’s scalar approach as my starting point, I examine the interaction of chords, scales and voice leading in representative passages of Nielsen’s late music (especially the Fourth and Fifth Symphonies and the Clarinet Concerto). I identify not only which scales seem to be operative at any given moment (sometimes more than one) but how Nielsen moves from one to the next via efficient chordal or scalar voice leading, and how these scales relate to one another in tonal space—what Tymoczko means by “geometry”. 

           

Svend Hvidtfelt Nielsen, Copenhagen

The Theme of Opus 40: Function Harmonic Coherence and Sequential Organization.

The Theme of Carl Nielsens opus 40, Theme and Variations is well-known for its change of tonality from b-minor over f-minor ending in g-minor within a course of only 16 bars. Obviously this raises the question of "directed tonality" or "paired tonality". Being a theme of a group of variations its harmonic progression is meant to repeat itself over and over again. In this view notions of directional tonality and tonal ambiguity might most of all lead to a feeling of dizzyness. The interesting question is to my therefore, how come this theme works. How does Nielsen within a seemingly functional harmonic pattern manage to touch upon such a variety of keys in such a short pattern? How can these relations be described? Does Nielsen employ other structuring elements besides harmonic coherence?

It will turn out that the harmonic progressions can be understood through theories presented by Jan Maegaard in his article  Harmonisk analyse af det 19 årh.s musik, Musik og forskning 15, 1989-90, along with Neo-Riemeann tranformation theory.

Along with this harmonic ordering runs a sequential structuring, as the chord patterns turn out to elaborate well known basic sequences, which in the German-Scandinavian theoretical tradition goes by the names "Rosalie" and "Inganno-sequence". As such sequence-models often function as referential basic models – like Meyerian “sound terms” - forming the backbone of Nielsen’s music, I shall argue for operating with a limited number of named basic sequential patterns rather than thinking of such patterns in terms of linear interval progressions or transposition operations.

And besides all this, the Theme of Opus 40 is a perfect realization of Nielsen’s famous claim: "We need to get away from the keys and yet still work with diatonic conviction.

             

Choir Recital

Atrium of library, Friday 4 November at 5 PM
MUKO conducted by Nenia Zenana

Vil du sla' mig (canon) (Wanna hit me)

Du danske mand (Sing, Danish man!)

Som en rejselysten flåde (There’s a fleet of floating islands)

Solen er så rød (Look! The sun is red, mum)

Stilhed og Mørke (canon) (Silence and Darkness)

Der er et yndigt land (A fair and lovely land)

Domine Regit

           

Nielsen Concert

The Queen’s Hall, Saturday 5 November at 4 PM
Students from the Conservatory

String Quartet in G Minor, Opus 13

Chaconne for Piano, Opus 32

Fantasy Pieces for Oboe and Piano Opus 2, arranged for Oboe and String Trio by Hans Abrahamsen

Wind Quintet Opus 43

           

The symposium is organized by:

The symposium has generously been funded by:
  • Carl Nielsens og Anne Marie Carl-Nielsens Legat
  • Sonning-Fonden
  • Københavns Universitet
  • Det Kongelige Bibliotek